Cure, Greatest Hits

This album was a great start line for a novice Cure fan, slightly like myself. Greatest Hits was simply made for the newcomers to Robert Smith's perennial music. Once again, these five British geniuses, slighty misunderstood, have created a sweet and sour, effulgent page turner. A group so innovational, so original, one's mind is blown. The lighter side of goth is represented here, to the liking of many, but probably not so much for the more intense fan who lives in the gloom-dipped, sombre moments. More well known songs are picked out, with up most care. From the zestfully enthusiastic 'Why Can't I Be You', to the opposing and unhurried 'Love song', this compilation has them covered. Resulting in giving the new boy a segment of The Cure's mammoth-range of songs. Smith's unpredictable vocals give a fine touch to the band and puts a stop to the non-believers of The Cure.

Many reviews I have read, have been centered about the lack of songs Greatest Hits has, which I am sure Cure lovers are all in one unanimous ride together. However, this compilation is a satisfying, nineteen-track treasure and one for the keeping. The icing on the cake, the bonus acoustic hits, are of course a major reason for purchasing Greatest Hits, giving the songs a more relaxed and light-hearted approach to them. This being the first stepping stone to converting anyone to a more wholehearted and devoted Cure lover and thus buying infinite amounts of Cure albums. As well as the two new inclusions; 'Just Say Yes' and 'Cut here', which really completes the album and would absorb anyone into The Cure's blissful music world. Don't be disillusioned by your first glance at it. Indeed, it may miss the more mature-Cure songs, though its relentless efforts of wanting others to enjoy the bustling music it spills, makes up for it.

Cure, Greatest Hits - Only by hiding in a cave and forsaking technology could anyone have avoided hearing tracks by the Cure over the last 25 years. This compilation brings together their most radio-friendly and most well-known songs - usually the happy, upbeat ones so that hardcore Cure fans can have a Cure album for their giddy moments and non-Cure fans can have the Cure songs they're most likely to like.

Even though these tracks reflect the lighter side of Goth, they also indicate the growth and development of the band from their more post-punk moments of "Boys Don't Cry" and the sublime "Forest" to the sweeping and swooning gothic depths of "Love Song" and the chirpy pop of "Friday I'm In Love." While it would be great to have a second CD of the more sombre and morose and experimental Cure songs that fans adore, this isn't a half-bad collection representing some of the most classic moments from these godfathers of existential gloom.